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Chris Crisman

Chris Crisman is a commercial photographer specializing in environmental Portraiture.

His clients include Leo Burnett, Field& Stream, ans Forbes, and his work has been recognized by Communication Arts, American Photography and PDN, among others.

Away from the camera, Chris can be found at home in Philadelpha, painstakingly restoring his 100-year-old townhouse.

Chris on Dynalite:

“Dynalite continuesto be my most trusted choice in lighting gear.

Their strobes are durable, dependable, and lightweight-all the things I look for in a strobe.

Dynalite strobes are my most importany lighting tool and I never take on a job without them.”

Brian Marcus

Brian Marcus is the third generation to represent the photography legacy of Fred Marcus Photography Studio in New York City—the leading name in wedding photography, for more than half a century.

Brian has been a Nikon professional photographer for 10 years and has shot events both in the United States and internationally.  Photographing approximately 100 events per year, his work affords a unique combination of beautiful traditional portraiture with touching candid photography.

Brian is a recognized expert in event and wedding photography, and has been featured in numerous publications including New York Magazine, The Knot, Studio Photography and Design, GQ, Interview Magazine, Gotham Magazine and many others.  In addition to his relentless professional shooting calendar, he schedules time to teach seminars around the world, sharing his passion with other photographers.

Among the hundreds of events that Brian photographs each year, he has shot many celebrity weddings, notably among them: Donald Trump to Marla Maples, Billy Baldwin to Chynna Phillips and Joey McIntyre of New Kids on the Block.

Brian Dynalite …

Dynalite equipment to me has been a necessary tool for any event I have ever done. The quality of the light, ease of use/portability of the equipment make working indoors a pleasure.

Most New York wedding photographers choose one place to set up for their portraits but with theDynalite system I choose multiple locations because of how easy it easy to set up. There is nothing better for me than equipment that is always reliable and that produces only the finest quality images.

Bryan Niven

Bryan Niven

Dynalite is the only portable studio setup I know of that fits completely in the overhead bins on a commercial flight, while at the same time never compromising the quality or quantity of light, whether in the studio or on location. I might be shooting in the city one day and in the middle of the dessert the next, and Dynalite gives me the added freedom and flexibility that my productions require.

Since the early age of 5, Bryan Niven has been creating artistic, illustrative-imagery that continues to push the limits of reality as we know it. His artistic photography was recently labeled as ‘The American dream in technicolour’ by Digital Photographer magazine in London.

Bryan’s work  has graced magazine covers, billboards, and feature stories, both in and outside the country. Among other subjects, Niven has photographed multi-Grammy award winning Jazz artists such as Jeff Coffin and Dave Samuels. He has also captured the rich personalities of Rancid drummer Brandon Steineckert, and more recently The Daily Show’s Mo Rocca.

Having amassed a huge following throughout the world, Bryan’s images are constantly in the ‘cyber spotlight’. Whether it is the creations themselves, or the speculated processes Niven uses, the bandwidth for these creative forums, blogs, and other types of message boards is simply overwhelmed. Fans are increasingly desperate to decipher the young artist’s ‘secret’.

Niven is a commercial photographer specializing in Photo-Illustration, and now, with over twenty combined years of experience in traditional art, including both film and digital photography, he has recently –by popular demand and his own desire — expanded  his client base to consumers!

Combining his vast knowledge of traditional art and photography, Bryan has created a look all his own.  His incredible attention to detail, and his oxymoronic outlook on life, screams to the world as a 21st Century Norman Rockwell, and beyond.  His surrealistic and illustrative presence is overwhelmingly clear as he continues to captivate some of the most powerfully creative companies and personalities in the world.

Being a true artist at heart, Bryan enjoys the added freedom of working on what he calls “REALITY SHOOT’S”. Based on the very same look and style that first captured the attention of creative giant, Apple, (for whom Bryan was asked to speak in their flagship store in New York City), these reality shoots bring a whole new look and feel to the world of photography!

Niven explains that the desire to start REALITYSHOOT.COM stemmed from his early childhood. Being frustrated that most of the photographs of Bryan and his family showed so little of who they really were growing up, he decided to combine his polished illustrative style of photography, with the “reality” of peoples lives. This combination of art and photography, along with Bryan’s keen ability and sincere desire to tell a story, has resulted in a subtle-textured, color-saturated explosion of portraiture that now adopts its parent commercial description, of “Impossibly Real”.

To see more of Bryan’s work you can visit several of his websites, such as, and his blog

Vincent Versace

“I shoot 36 frames in 34 seconds… I use the Dynalite M500XL strobe system because it can keep up and it is the only strobe to use when shooting with digital. Actually, It’s the only strobe to use for film and digital. Period.”

“My work is all about two things: Digital capture and natural light. And sometimes the sun ain’t where you want it. These strobes can add a light anywhere. The box fits in your hand and weighs less than my notebook computer. Because of the recycling time on M500XL, I’m able to shoot as fast as my camera can capture… I can make light happen in ways that I really can’t with other systems.

I can’t imagine shooting on location with any other setup.”

Vincent Versace has been making digital images for almost a decade. Companies such as Kodak, Apple, Epson and Adobe all have him on their roster as a beta tester. His reason for going digital may surprise you…Vince explained, “Bottom line, I have to look at this economically, I charge for what I do. As a business venture, what should I do?…stay married to a technology that rips the environment apart, is costly, and does not have the permanence that I can get with digital, or…embrace a technology that puts money in my pocket, is quicker, and gives me more of my life back?”

Along with maintaining his studio in Hollywood, where he’s received a Smithsonian Award for his celebrity portraits, Vince has also been known to slip off to Bora Bora to photograph extreme sports competitions. Born in San Francisco, Vince credits two of his uncles, Frank and C.J. Elfont, both professional photographers, with giving him a head start in his chosen field. He picked up his first camera at age 7 and by high school he was already working as a wedding photographer. Vince later graduated grom the USC School of Cinema-Television (film school).On his early inspiration…”If it wasn’t for C.J., I wouldn’t be a photographer. He was the first person in my life who helped me think outside the box. He…taught me what an artist is, and that you can’t call yourself one…You don’t make art. Art happens.”

George Tiedermann

I’ve been depending on Dynalite’s since 1970 when I purchased my first Dynalite bare tube conversion of a Honeywell Stobonar Pressmaster 800. I still have the unit today, and could use it if necessary. Since those early days as a newspaper photographer, I’ve acquired a much larger pool of Dynalite equipment that is called on time and time again. Two of my 800 watt second units (D804) from the mid-seventies are still being used. Other than being great strobes, I like the fact that they are very portable and that’s been a major factor since I never know where I may need to take them at a moments notice.

I was hired by the promoter to do the Tyson- Stewart poster for their then upcoming fight in Atlantic City. Everything was set up and we were ready to go as soon as Mike finished shooting a TV promo. But Tyson and his entourage left the room forgetting all about our shoot.

As they left, I glanced at the Public Relations Manager only to see disaster in his eyes. I instantly took off down the hall after Mike. When I reached him I grabbed him by the arm and said, “Mike we need to shoot the picture for the fight poster”. He followed me back to the room for the picture. I showed both fighters what I needed them to do and quickly walked back to my Nikon, focused, made three quick frames, and asked Tyson to look a little meaner.  With that, he walked out the door.

After processing the film, I noticed that the third frame was the better frame. In that frame the light from the strobe on Tyson’s side had not fully recycled, but fired anyway which enhanced that shot over the first two frames. Had that one strobe waited for full recycle, I would not have had a usable third frame.

I was assigned by Sports Illustrated to make a triple exposure of the men’s 60 meter dash at the Chemical Bank Millrose Games in Madison Square Garden.

There were four Dynalite 1000 w/s units (two at each end) and two Comet PMT1200 w/s battery operated strobes in the middle of the track. Since no live wires were allowed on the arena floor, we adapted two Dynalite 4080 bi-tube heads to work off the PMT1200. This also reduced the flash duration,which is paramount for this type of shoot.

All six strobes were connected in pairs to a switching unit controlled by an assistant who would flip switches on and off as needed during the very short 6.5 seconds of this event. The floor was being used for other events, which prevented testing our system on this “one” shot assignment.

Now with all the equipment in place, a TV technician appeared and announced that a strobe was blocking their camera view. Quickly, I told my assistant to lower the strobe head and return ASAP. He ran to the strobe, made the adjustment, and returned to the control box seconds before the pistol shot.

Aside from many stressful obstacles,my Dynalites and Comet PMT’s performed perfectly…Thanks Dynalite!!

Joyce Tenneson

“Dynalites are the most compact and efficient lighting systems out there–I use them exclusively. They are so easy to pack and take on location…I can carry all my gear with the help of only one assistant..”

To see more of Joyce’s work, Also, get information on her workshops or mentorship program.

“As a portrait photographer, I see flowers not as mere decorations, but as distinctive personalities. When I make a human portrait, I try to discover some inner essence that helps crystallize their uniqueness. I photograph flowers with the same respect.”

Joyce Tenneson is one of the most respected photographers of our time and has been described by critics as “one of America’s most interesting portrayers of the human character.” Tenneson believes, “Through a person’s face we can potentially see everything – the history and depth of a person’s life as well as their connection to a universal spirituality.”

Tenneson’s seventh book, Wise Women, a current best seller, celebrates the third phase of the female life cycle.

After completing Wise Women, Tenneson found herself drawn to flowers, a subject that has long held her fascination. Building on her recent experiences, she approached flowers with a new insight: recognizing every phase of their life was fascinating, if we just stopped long enough to really see it. Every day the flowers showed different aspects of their personality as they unfolded, bloomed, and withered on their way from birth to death. Tenneson photographed the blossoms long after they would have been discarded from the vase, discovering extraordinary beauty in their demise. The book, “Flower Portraits, the Life Cycle of Beauty”, is a visual testimony of Tenneson’s latest exploration.

Joyce Tenneson was named “One of the Ten Most Influential Women Photographers in the History of Photography,” in American Photo Magazine’s recent poll. Her work has graced the magazine covers of Time, Life, Entertainment Weekly, Newsweek, Premier, Esquire, and New York Times Magazine. Tenneson’s photographs are exhibited in galleries around the world and are housed in many museums and private collections. She is much in demand as an inspirational lecturer and workshop instructor. Joyce is also the founder of Light Warriors, a mentorship program that helps emerging artists to establish their careers. Tenneson lives and works in New York City.